明永樂 剔紅花卉紋盞托 《大明永樂年製》款

de forme globulaire aux côtés arrondis se prolongeant vers le bord incurvé, reposant sur une coupe à sept lobes et un haut pied évasé, le pourtour profondément sculpté dans d'épaisses couches de laque d'un buissonnant feuillage dans lequel s'épanouissent six fleurs de camélia, grenade, pivoine, chrysanthème, hibiscus et gardénia, le même décor répété sur les deux faces de la coupe et autour du pied, l'intérieur et le pied laqués brun foncé, marque verticale à six caractères incisée à l'intérieur du bord du pied

There is ca. 4cm long and ca. 0.5cm wide area of loss to the lacquer and part of the wood core along the rim of the foot with an associated ca. 0.5 cm large shallow chip to the carved lacquer on the foot. The wood core of the foot, the textile, a thick area of black, a thin yellow line, red and black lines and the above thick red lacquer layers are exposed along the rim of the foot. Apart from this loss, the carved lacquer design, the everted tray and the cup are all in very good condition. There are cracks running though the lacquer design on the exterior of the foot, the inside and exterior of the tray and the exterior of the cup, several of them going extending into and going through the rim of the cup and visible on the inside and outside of the cup rim as well as the rim of the tray. The bowl stand is very heavy. The lacquer is thickly and finely carved and has not been cleaned. Underneath the dirt and dust, the ochre ground and the black guideline are visible. The inside of the foot and cup is lacquered black and the black lacquer surface is covered with a fine crackle. Under light, the black lacquer appears to show some areas of light brownish olive. There are some minor areas of loss to the black lacquer inside, below which a fine greyish surface is visible. There are minute traces of green paint along the rim of the cup.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

雕漆之技，並非創於明代，而乃始於南宋，初盛於元朝。元代漆器及瓷器，粗曠頓挫，入明之後，漸精漸細，刀隱痕，花渾潤。

永樂朝欽定中國工藝臻品為御用，開創典雅精巧風格，登峰造極，前所未有。朝廷接管瓷器及漆器作坊，嚴控生產，力求盡善，以工藝臻品彰顯大明威望，定宮廷御作之特質。漆器製於朝廷，監控嚴謹，要求縝密，慎守秘技，成品由宮廷分配監管，當中情況，應與瓷器相若。

永樂帝屢賜日本幕府貴重漆器，根據重要明代文獻，永樂1403至1407年間，朝廷共賜日本足利幕府203件剔紅漆器，其中重器58件，賜於永樂元年。永樂元年所賜國禮，明檔清單記載甚詳，包括「葵花樣托子…雕…四時花卉」兩件，與編號112相近，贈予時之幕府。

雕漆技藝費工耗時，髹漆厚度相當，方可始雕，故成品常需數年之久。如上工序，僅永樂元年一載斷難完工。建文（1399-1402年）一朝甚短，時勢欠穩，亦不可成，且惠帝曾有詔諭，除必要外，終製他品。與本盞托成對之作例，出自抱一齋雅藏 ，近售於香港蘇富比，綜上可斷，當屬洪武一朝所製。

參考兩例，七葵瓣式，雕四季花卉，其一刻永樂款，存北京故宮博物院，錄《中國漆器全集》，福州，1993-8年，卷5，圖版26；其二無款，藏東京靜嘉堂文庫，展於《彫漆》，德川美術館，名古屋及根津美術館，東京，1984年，圖版83。另一例出自抱一齋收藏，先刻永樂款，後加宣德款，曾展於《中國漆藝二千年》，香港東方陶瓷學會，香港中文大學文物館，香港，1993年，編號46，售於倫敦蘇富比1983年12月13日，編號56，後易手於香港蘇富比2014年10月8日，編號3210。